Combine the classic party game Apples to Apples with a visit to the fabulous home of a wealthy collector and what do you get? Words of Art."--ARTnews A creative, collaborative card game for art lovers featuring 150 works from renowned collector and philanthropist Agnes Gund's never-before-published private art collection. - Perfect for Family Game Nights: Players feast their eyes and exercise their brains as they challenge friends and family to come up with the art card that best expresses the verbal prompt given by the designated Storyteller. - Expert authors: Created by daughter of famed art collector Agnes Gund and world-class design team Pentagram to excite everybody about contemporary art. - For fans of visually stunning games like Azul and Wingspan: Open your eyes to an astonishing collection of contemporary art by a diverse group of artists from around the globe. The cards feature art from a wide range of artists, from world famous (Jasper Johns, Romare Bearden, Warhol, Louise Bourgeois) to newer stars (Sarah Sze, Nick Cave, Teresita Fernandez). Over half the works are made by women artists and over a third by artists of color. - A different experience in each game: 150 different works of art to draw from creates new collections to explore every time you play. - Fun + Educational: Reinforces language and vocabulary development as well as creativity and imagination. - 4 or more players - Playing time 30 minutes to 1 hour - Contains 150 cards, sample prompt card, 16 tokens and rule book - Ages 8 and up
Camcorder AIDS activism is a prime example of a new form of political expression--an outburst of committed, low-budget, community-produced, political video work made possible by new accessible technologies. As Alexandra Juhasz looks at this phenomenon--why and how video has become the medium for so much AIDS activism--she also tries to make sense of the bigger picture: How is this work different from mainstream television? How does it alter what we think of the media's form and function? The result is an eloquent and vital assessment of the role media activism plays in the development of community identity and self-empowerment. An AIDS videomaker herself, Juhasz writes from the standpoint of an AIDS activist and blends feminist film critique with her own experience. She offers a detailed description of alternative AIDS video, including her own work on the Women's AIDS Video Enterprise (WAVE). Along with WAVE, Juhasz discusses amateur video tapes of ACT UP demonstrations, safer sex videos produced by Gay Men's Health Crisis, public access programming, and PBS documentaries, as well as network television productions. From its close-up look at camcorder AIDS activism to its critical account of mainstream representations, AIDS TV offers a better understanding of the media, politics, identity, and community in the face of AIDS. It will challenge and encourage those who hope to change the course of this crisis both in the 'real world' and in the world of representation.
On Line: Drawing Through the Twentieth Century explores the radical transformation of drawing that began during the last century as numerous artists critically re-examined the traditional concepts of the medium. In a revolutionary departure from the institutional definition of drawing and from reliance on paper as the fundamental support material, artists instead pushed the line into real space, expanding the medium's relationship to gesture and form and connecting it with painting, sculpture, photography, film and dance. Published in conjunction with an exhibition at The Museum of Modern Art, On Line presents a discursive history of mark-making through nearly 250 works by 100 artists, including Aleksandr Rodchenko, Alexander Calder, Karel Malich, Eva Hesse, Anna Maria Maiolino, Richard Tuttle, Mona Hatoum and Monika Grzymala, among many others. Essays by the curators illuminate individual practices and examine broader themes, such as the exploration of the line by the avant-garde and the relationship between drawing and dance.
Struck by the absence of love affairs, adventures, travels, and political engagement in Immanuel Kant's life, a noted commentator describes him as unformed, to a degree surpassing all other philosophers, by challenging life events. Declaring that Kant 'can be understood only through his work in which he immerses himself with unwavering discipline,' the writer evokes the image of a body of writing demanding to be understood through text-internal analytical methods alone. The theme of the enclosed Kantian text is virtually irresistible. It dominates in teaching practice and in a large percentage of the expository literature, where Kant's ideas are paraphrased in more, or even less transparent prose. It is attributable to the fact that Kant is a difficult author, a fact that, despite his scorn for popular philosophy, he knew and to some extent regretted. The commentator too is apt to immerse him or herself in Kant's writings with unwavering discipline, leaving little time and energy for a study of Kant's surrounding context. Like Wordsworth's Isaac Newton, whose innate powers enable him to teach the truth to himself, Kant is seen as a walled-off genius whose innovations nevertheless reached to the whole world. But Kant's famous domesticity and addiction to routine did not preclude contact with an external world. His mind was formed--as was Newton's, as is that of any one of us-- by his encounters with books and essays, by his exchanges with correspondents and dinner guests, from whom he learned and by whom he was provoked and challenged. The name index of the Academy Edition of Kant's works and the range of authors in the catalogue of Kant's library books published by Arthur Warda in 1922 leave no doubt as to the breadth of his personal and literary acquaintances
This pocket book succinctly describes 215 common, serious errors made by attendings, residents, fellows, CRNAs, and practicing anesthesiologists in the practice of anesthesia and offers practical, easy-to-remember tips for avoiding these errors. The book can easily be read immediately before the start of a rotation or used for quick reference. Each error is described in a quick-reading one-page entry that includes a brief clinical scenario, a short review of the relevant physiology and/or pharmacology, and tips on how to avoid or resolve the problem. Illustrations are included where appropriate. The book also includes important chapters on human factors, legal issues, CPT coding, and how to select a practice.
The full-color Avoiding Common Anesthesia Errors, significantly updated for this second edition, combines patient safety information and evidence-based guidance for over 300 commonly encountered clinical situations. With a format that suggests conversations between an attending and a trainee, the book helps you identify potential problems and develop a treatment plan to minimize the problem. Brief, easy-to-read chapters cover basic and advanced topics and help you digest information in minutes!
No eyebrows. No eyelashes. When it rains the water will run straight down into my eyes," Catherine Lord wrote before her hair fell out during chemotherapy. Propelled into an involuntary performance piece occasioned by the diagnosis of breast cancer, Lord adopted the online persona of Her Baldness—an irascible, witty, polemical presence who speaks candidly about shame and fear to her listserv audience. While Lord suffers from unwanted isolation and loss of control as her treatment progresses, Her Baldness talks back to the society that stigmatizes bald women, not to mention middle-aged lesbians with a life-threatening disease. In this irreverent and moving memoir, Lord draws on the e-mail correspondence of Her Baldness to offer an unconventional look at life with breast cancer and the societal space occupied by the seriously ill. She photographs herself and the rooms in which she negotiates her disease. She details the clash of personalities in support groups, her ambivalence about Western medicine, her struggles to maintain her relationship with her partner, and her bemusement when she is mistaken for a "sir." She uses these experiences—common to the one-in-eight women who will be diagnosed at some point with breast cancer—to illuminate larger issues of gender signifiers, sexuality, and the construction of community.
At a time when the dominant mode of painting, Abstract Expressionism, emphasised expressive drama through bold brushwork and largely abstract compositions, Johns’ paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. “It all began... with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn’t have to design it. So I went on to similar things like the targets - things the mind already knows. That gave me room to work on other levels. For instance, I’ve always thought of painting as a surface; painting it in one color made this very clear. Then I decided that looking at a painting should not require a special kind of focus like going to church. A picture ought to be looked at the same way you look at a radiator.” Unlike most artists’ statements in New York during the 1950s, Johns’ remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists, his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism. Furthermore, in selecting recognisable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves - flags, targets, numbers - each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. This book underlines how Johns’s work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world. It also tries to understand why, since his first exhibition at the Leo Castelli Gallery at the age of twenty-seven, he has remained one of the major artists of the contemporary artistic scene.
Combine the classic party game Apples to Apples with a visit to the fabulous home of a wealthy collector and what do you get? Words of Art."--ARTnews A creative, collaborative card game for art lovers featuring 150 works from renowned collector and philanthropist Agnes Gund's never-before-published private art collection. - Perfect for Family Game Nights: Players feast their eyes and exercise their brains as they challenge friends and family to come up with the art card that best expresses the verbal prompt given by the designated Storyteller. - Expert authors: Created by daughter of famed art collector Agnes Gund and world-class design team Pentagram to excite everybody about contemporary art. - For fans of visually stunning games like Azul and Wingspan: Open your eyes to an astonishing collection of contemporary art by a diverse group of artists from around the globe. The cards feature art from a wide range of artists, from world famous (Jasper Johns, Romare Bearden, Warhol, Louise Bourgeois) to newer stars (Sarah Sze, Nick Cave, Teresita Fernandez). Over half the works are made by women artists and over a third by artists of color. - A different experience in each game: 150 different works of art to draw from creates new collections to explore every time you play. - Fun + Educational: Reinforces language and vocabulary development as well as creativity and imagination. - 4 or more players - Playing time 30 minutes to 1 hour - Contains 150 cards, sample prompt card, 16 tokens and rule book - Ages 8 and up
Camcorder AIDS activism is a prime example of a new form of political expression--an outburst of committed, low-budget, community-produced, political video work made possible by new accessible technologies. As Alexandra Juhasz looks at this phenomenon--why and how video has become the medium for so much AIDS activism--she also tries to make sense of the bigger picture: How is this work different from mainstream television? How does it alter what we think of the media's form and function? The result is an eloquent and vital assessment of the role media activism plays in the development of community identity and self-empowerment. An AIDS videomaker herself, Juhasz writes from the standpoint of an AIDS activist and blends feminist film critique with her own experience. She offers a detailed description of alternative AIDS video, including her own work on the Women's AIDS Video Enterprise (WAVE). Along with WAVE, Juhasz discusses amateur video tapes of ACT UP demonstrations, safer sex videos produced by Gay Men's Health Crisis, public access programming, and PBS documentaries, as well as network television productions. From its close-up look at camcorder AIDS activism to its critical account of mainstream representations, AIDS TV offers a better understanding of the media, politics, identity, and community in the face of AIDS. It will challenge and encourage those who hope to change the course of this crisis both in the 'real world' and in the world of representation.
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